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THE BULLETIN OF THE 

sented only by an early example by Harpignies. Fortunately, 
the Museum collection includes good examples by most of the 
men of importance who are thus omitted, and the pictures shown 
in Galleries VI and VII supplement to a remarkable extent the 
French exhibit from Paris. 

Perhaps the best-known paintings included are "The Bal- 
cony," by Manet, and "The Wedding Guests," by Raffaeli, 
both of which have been illustrated frequently and are striking 
examples of the work of their creators. The large water-color 
portrait of Legros by Besnard is also of the greatest importance. 

Beginning with the Neo-classicists, one can follow the chan- 
ging development through the various schools leading to the 
Impressionists and to Cezanne, who is represented by a charm- 
ing landscape in which one begins to see the influence which the 
followers of Cezanne developed into the newer movements of 
many names, which have followed one another so rapidly in 
the last few years. 

PENNELL LITHOGRAPHS 

Through the generosity of Mr. Salmon P. Halle, the Museum 
is enabled to show for a few weeks in Gallery XI the complete 
set of 51 lithographs of English Munitions Works by Joseph 
Pennell, which represent one of the most notable artistic con- 
tributions brought forth by the great war. The visitor cannot 
fail to be impressed with the beauty and variety represented by 
these studies of the great and orderly productive side of the war. 

FANTIN-LATOUR LITHOGRAPHS 

In striking contrast to the Pennell lithographs are the poetic 
productions of Fantin-Latour shown in the Print Room. These 
are owned by Mr. Charles L. Freer, who once more expresses 
his friendly interest by lending this valuable collection. Full of 
charm, matchless in their interpretative beauty, they show the 
wonderful extent to which a great artist can express in carefully 
manipulated tones of black and white the feeling and values of 
color. It will be interesting and instructive to study carefully 
the lithograph of Tannhauser— No. 27 on the west wall of the 
Print Room— and then go to Gallery VI and compare it with 
the oil-painting of the same subject presented to the Museum 
by Mr. and Mrs. J. H. Wade. 

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